Fede Álvarez: “No One Can Tell Uruguayan Filmmakers It’s Impossible to Succeed”

From filming in the streets of Montevideo to working on Hollywood’s grandest stages, Fede Álvarez’s journey highlights Uruguay’s potential as a hub for audiovisual talent.

“All the semi-epics I’ve lived through would make zero sense if I hadn’t made them with friends and the possibility of collaborating with people I believe in and have worked with all my life,” the director said during a talk full of humor and emotion at the Ventana Sur market. He is widely regarded as one of Uruguay’s most accomplished filmmakers.

Álvarez’s latest film, Alien: Romulus, is nominated for an Oscar for Best Visual Effects. It competes against major blockbusters such as Dune: Part 2, Better Man, Planet of the Apes: New Kingdom, and Wicked. His December 2024 visit to Montevideo coincided with Ventana Sur, held in Uruguay for the first time thanks to an agreement between the Cannes Film Festival’s Marché du Film, Argentina’s National Institute of Cinema and Audiovisual Arts (INCAA), and Uruguay’s Film and Audiovisual Agency (ACAU). Uruguay XXI contributed to this joint effort by showcasing the brand Uruguay Audiovisual through a dedicated country booth, positioning the nation as a host of excellence and a promoter of its talent and capabilities.

During the event, Álvarez revisited key moments of his career, from Ataque de Pánico (Panic Attack) — the viral short film that catapulted him to international recognition — to high-profile productions like Evil Dead and Alien: Romulus.

“It’s not crazy to try something big from Uruguay”

In an interview with Uruguay XXI, Álvarez reflected on his role as an “ambassador” for the country, the development of the industry, and how his personal and professional history is deeply tied to his Uruguayan identity. “The truth is, the role is great, and I take it very seriously,” Álvarez shared. He acknowledged the responsibility of being one of the first faces of Uruguayan cinema many in Hollywood encounter and emphasized the importance of leaving a lasting positive impression. “We are aware that that first impression matters and is not something to be taken lightly,” he added, stressing the significance of paving the way for future Uruguayan talent.

Discussing his influence on young filmmakers, Álvarez admitted feeling some positive envy for the new generations, who now have tangible examples proving it’s possible to create large-scale films from Uruguay. “When I started, I didn’t have those references. My friends and I were the odd ones out,” he recalled, citing influences such as Ricardo Islas, known for genre films like Plenilunio, and Adrián Caetano, whose professional path inspired him.

“Today, no one can tell a young director that it’s impossible to make films if you were born in Uruguay. Seeing someone from your city or country who managed to make films on a large scale shows that it’s not crazy to try something big from Uruguay,” he said.

Although he now directs major productions in Hollywood, Álvarez remains grounded in his roots and acknowledges how they shape his filmmaking style. From producing Ataque de Pánico with just US$ 300 to embedding Uruguayan cultural references in his blockbuster productions, he emphasized how his personal history informs his work. “The story in Alien — about young people in a small, isolated town dreaming of escape — resonates deeply with Uruguayans but is less familiar to American audiences. I built that whole narrative from my own experience as a teenager in Uruguay, wanting to make films in a place where that kind of film didn’t exist. Looking back, I realize how much of myself and my personal history is reflected in each film,” he said.

Álvarez also highlighted the evolution of Uruguay’s audiovisual sector, noting significant advancements over the past two decades. He praised the growth in infrastructure and professionalization, citing key players like Musitelli Film & Digital and the increasing presence of international productions. “Today, Amazon comes and makes a series here; that was unthinkable 20 years ago,” he remarked.

In addition, Álvarez stressed the importance of nurturing local cinema as a cultural vehicle that showcases Uruguay’s identity to the world. “Cinema is a compelling art to show our identity and our place in the world,” he emphasized, calling for continued support for local directors and screenwriters.

Asked about the industry’s current needs, Álvarez pointed to experience. “What is needed to keep growing is to go through the process of doing things. Each project is an opportunity to learn and improve,” he explained, highlighting the high quality of Uruguayan crews. His colleague Pedro Luque, who won the Goya award for his cinematography on La Sociedad de la Nieve, has also attested to their ability to meet international demands.

Finally, Álvarez expressed enthusiasm for the surge in international productions in Uruguay, with major players like Amazon, Netflix, HBO, and Disney investing in projects there. For him, each new production not only puts Uruguay on the map but also strengthens its professionals and creates opportunities for future endeavors.